Portret van de heer Frans Spengler 1848 - 1927

Editor: Here we have August Allebé’s pencil drawing, *Portrait of Mr. Frans Spengler,* created sometime between 1848 and 1927. The sketch feels very immediate, like a quick study. What jumps out at you? Curator: The interesting thing here is to consider why Allebé, at that particular moment in the history of Realism, would choose pencil for a portrait. Realism strove for accurate representation, so what does the choice of a less ‘finished’ medium say about the status of the sitter or perhaps the function of the work? Was this meant for public display, or was it something more private? Editor: So, the medium impacts how the work is viewed in the context of Realism? Curator: Exactly. Think about the art world at that time – the rise of photography, for instance. Artists were grappling with new ways of seeing and representing the world. A quick sketch like this suggests a certain kind of authenticity, a directness that perhaps a more polished painting might lack. Who was Spengler, and what role did Allebé envision for his likeness in society? The loose strokes add to this feel, moving beyond a simple imitation to a gesture of its being, of existing. Editor: That’s fascinating. I hadn't considered the choice of medium as a statement within the context of the Realism movement. I was too focused on just the likeness of the figure! Curator: And that’s precisely how these drawings find a place in art history: not just as standalone images, but as objects circulating within a network of social and artistic exchanges. Every pencil stroke reflects or refuses the politics of imagery during the artist's time. Editor: Thanks, that gives me a totally different angle on portraiture. I'm going to think a lot more about the 'why' behind artistic choices from now on.